Nevertheless, she persisted. Persisted, pushed back depression and doubt and the burden of care to accept her legacy of genius.
Is it sacrilegious to suggest that Easter was a good day to see The Magic Play, since the story of Easter, if true, is the greatest magic act in human history? I here use magic in its broadest sense: as the phenomena we, in all our well-honed rationality, cannot explain but which is true nonetheless.
Hard-hitting, issue-packed, relevant plays are all the rage right now, but if you are weary of such emotional drain, and would just like some old-fashioned fun, look no further than Olney’s cuter-than-a-kitty and naughtier-than-French-lace-undies production of Fickle. A confection updated to just about perfection.
Witty and perverse, scary and heart-warming, lofty, and yet wholly accessible. Sweeney Todd, The Demon Barber of Fleet Street, is one of my favorite musicals. Period.
Sometimes nostalgia can be disappointing, but even so, it’s awfully nice to go home again. So it is with Olney Theatre Center’s Mary Poppins. The movie you remember has been reshaped into a Broadway extravaganza, courtesy of Disney and assorted cohorts. That’s both a good thing and a bad thing, for if you’re expecting a literal blow-by-blow […]
While most people might hear the title “Mary Poppins” and instantly think it’s a kid’s musical, Olney director Jason King Jones doesn’t feel that way at all. “I think, for me, it’s a story for grownups. How we as adults want to present ourselves to the younger generation and what we want the younger generation […]
“You have to get to a place where you can just get out of your own way to play this guy.” “This guy” is the infamous Roy Cohn, who is the real-life antagonist in Tony Kushner’s epic, two-evening Angels in America, on-stage through October 30th in a collaborative production between Montgomery County’s two largest (and […]
The standard take on Perestroika, the second part of Tony Kushner’s Angels in America, is that it is not of equal quality to the masterful first. Perhaps this is why there’s a slight sense of trying too hard in this Round House Theatre-Olney Theatre Center production, where director Ryan Rilette occasionally overuses back-wall projections and […]
It is a daunting challenge to perform as Anne Frank. Not only is she an historical figure whose face is known worldwide, but she is also one who went through puberty during the events that made her famous. Anne received her diary for her thirteenth birthday and died almost three years later at Bergen-Belsen concentration […]
When Olney Theatre Center decided to stage Frances Goodrich and Albert Hackett’s Tony-winning The Diary of Anne Frank this season, Derek Goldman seemed like the perfect choice to direct. “It’s a story that has been with me for most of my adult life,” Goldman says.